The impact of music festival attendance on young people's psychological and social well being

Although the social, emotional, physical and cognitive benefits of engagement in music are well known, little research has been conducted on the psychological benefits of music in the context of music festivals. This article draws on theoretical constructs from the field of positive psychology to interpret the impact of music festival attendance on participants' psychological and social well-being. Qualitative and quantitative data were collected from a focus group and questionnaire survey with young festival-goers aged 18-29 years. Four facets of the music festival experience were identified that were associated with well-being outcomes. These are explored and discussed with reference both to participants' focus group comments and statistical analysis of questionnaire responses. A conceptual model is presented in order to guide further research in this area, and enable both festival organizers and attendees to take optimal advantage of the potential of music festivals to impact positively on young adults' psychological and social well-being

Música, cultura e experiência

.A “música” é um sistema modelar primáriodo pensamento humano e uma parte da infra-estrutura da vida humana. O fazer “musical”é um tipo especial de ação social que pode terimportantes conseqüências para outros tiposde ação social. A música não é apenas reflexiva,mas também gerativa, tanto como sistema cul-tural quanto como capacidade humana. Umaimportante tarefa da musicologia é descobrircomo as pessoas produzem sentido da “músi-ca”, numa variedade de situações sociais e emdiferentes contextos culturais, distinguindoentre as capacidades humanas inatas utilizadaspelos indivíduos nesse processo e as convençõessociais que guiam suas ações

Patterns of Nsenga Kalimba music

The recordings on which this analysis is based, were made between July 24th and August 7th, 1961, in the Petauke District of the Eastern Province of Northern Rhodesia. Some of them appear on Side 1 of Volume II in the series of three long-playing records, Music from Petauke, published by Ethnic Folkways Library, New York. Dr. Raymond Apthorpe, in his capacity as Research Sociologist of the Rhodes- Livingstone Institute, Lusaka, had already done several months fieldwork amongst the Nsenga, when he suggested to the acting director of the Institute, Mr. C.M.N. White, M.B.E., that I should be invited to make a brief, but concentrated, study of Nsenga music. I am most grateful to all those who have made this study possible, and especially to the Council of the University of the Witwatersrand, whose Research Committee made a most generous grant to enable me to have a Nagra IIIC Portable Tape Recorder, and to cover some of the costs of preparing this analysis. Above all, I should like to thank the Nsenga musicians who responded patiently and graciously to my enquiries about their art

Problems of pitch, pattern and harmony in the ocarina music of the Venda

This paper aims both to describe some features of Venda ocarina music and to relate these findings to a problem of method in ethno-musicology

Musical expeditions of the Venda

The Venda tribe, who live in the Northern Transvaal on the middle Limpopo River, mostly on the south bank in the region north of Louis Trichardt, are noted for their Reed-flute ensembles. Professor Kirby has given us a detailed description of them. The ensemble consists of a set of from nineteen to twenty-six stopped bamboo pipes: they are end-blown, and as each produces only one note, a separate player is needed for every pipe. The pipes are each tuned to a different pitch and together yield a heptatonic scale covering from about two-and-a-half to three-and-a-half octaves, according to the number of pipes in the set

Music in Uganda

I visited many parts of Uganda, with the exception of West Nile, and almost everywhere I was struck by the vitality of musical traditions. Even the music played on Western instruments was usually African in idiom. There is, however, an urgent need to co-ordinate research into Ugandan music; to ensure that efficient methods and high standards of scholarship are maintained; to centralize research materials, so that they are readily available to students; and above all to utilize to the full the talents and enthusiasm of the many Ugandans who have already begun to investigate their own music

Investigating the cancer stem cell hypothesis in canine tumours

The cancer stem cell hypothesis has recently re-emerged as a compelling paradigm for the development and progression of neoplastic disease. The hypothesis proposes that a specific subset of “cancer stem cells” (CSC), believed to share many features with normal stem cells, is exclusively responsible for maintaining tumour growth and driving progression. If the CSC hypothesis applies, it may require re-evaluation of the clinical approach to neoplasia. Spontaneous cancer in the domestic dog represents a significant welfare problem, with dogs developing many tumours strongly reminiscent of those affecting humans. This study sought to investigate whether cells with characteristics of CSC are identifiable in canine cancer. Assays to identify, isolate and characterise CSC were adapted to the canine system, and cancer cell lines and spontaneous tumours of diverse origin evaluated for the presence of candidate populations. Whilst analysis of surface expression patterns did not identify specific subpopulations within canine cancer cell lines, these were detectable in cells derived directly from primary tumours. Assays for stem cellassociated drug resistance mechanisms could also be used to identify subsets of putative canine CSC. Formation of “tumourspheres” by canine cancer cell lines was found to be highly density-dependent, so a potentially unreliable method of isolating CSC. Expression of the cell surface glycoprotein CD44 was associated with cellular proliferation status, although it may not represent a stable canine CSC marker. The NFκB survival pathway, associated with apoptosis resistance of some putative CSC, was constitutively active in canine cancer cell lines; suppression using specific inhibitors could reduce cell viability, indicating that this may represent a rational therapeutic target. Overall, these studies demonstrated that CSC assays may be adapted to the canine model system, although they require rigorous interrogation to distinguish apparent CSC attributes from basic biological properties. Cell lines have provided a stable background upon which to optimise assays, but appear less likely to demonstrate discrete CSC subpopulations. Putative CSC subsets may be more readily identifiable within heterogeneous primary tumour cells. The application of some of these adapted assays within a clinical setting may enable further characterisation of individual patients’ tumours, and inform therapeutic regimes for improved treatment outcomes

Diversidad, Música y Competencia Social y Ciudadana: contribuciones de la experiencia musical

La legislación educativa tiene la obligación de garantizar las adaptaciones curriculares necesarias para desarrollar al máximo las Competencias Básicas. El profesorado debe diferenciar el currículo de los educandos en función de sus limitaciones cognitivas, culturales y sociales, para que todos puedan convertirse en ciudadanos competentes socialmente. Este artículo muestra cómo la experiencia musical es accesible, efectiva y motivadora para el alumnado incluido en la atención a la diversidad, y cómo debido a ello podrá contribuir a la adquisición de la competencia social y ciudadana por este colectivo. Entonces, la Música en la atención a la diversidad en Primaria tiene un papel vital, puesto que además de incrementar la autoestima, la autonomía, la iniciativa personal, contribuirá al desarrollo de la competencia social y ciudadana considerada imprescindible para un adecuado desarrollo sociocultural